John Scott, John Taylor, and Keats's Reputation John R

Total Page:16

File Type:pdf, Size:1020Kb

John Scott, John Taylor, and Keats's Reputation John R Lehigh University Lehigh Preserve Theses and Dissertations 1963 John Scott, John Taylor, and Keats's reputation John R. Gustavson Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the Arts and Humanities Commons Recommended Citation Gustavson, John R., "John Scott, John Taylor, and Keats's reputation" (1963). Theses and Dissertations. 3152. https://preserve.lehigh.edu/etd/3152 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. .•••·· -·"' -· '1/- .~ •. -. ..... '·--·-· -- .. - ' . .. ·~ ... - ... ·-··--·--- ·-·--·-··-~•-•¥••----., ...... .. ' ·:.0.--:'_• _ _.., ___•1-' .......""T,b.-~-~~f'Mt,'lllr!iill. 1"• ... ,~'"!".~·· -- . ~..... .... ,Ill\ ,, •• ,":• -r---1 'I • - .. , .•. - ... -----fQS' ·--·~· ....... 1:·.·" ...... ~ , • ' ..,.: .tf>•Z • .... -..... ' ........ -.--···· ... _ .. _ ' i .I JOHN SCOTT,.. JOHN TAYLOR, AND KEATS'S REPUTATION - by John Raymond Gustavson A THESIS Presented to the Graduate Faculty of Lehigh University in candidacy for the Degree of Master of Arts 1, ·• Lehigh University ··,~-- 1963 -•• · l• -- ·.:·_ .;·~: ..:,.:... _. - -- - --· -- ·---..: --;---:•--=---· -, ~ _., --.~ .... •.-' ... ------- ,.1 ... !" ·.,i .1 l,! ; ': ·)1 :i - ' -~·-· ~ _ _.,.,::_ '. -• .:,•,,", .,_ '' - . ' ... -.. ~.:-_•;,." -, ii ... • '~,:~ ...... ··rt· • -···-•-Y: .. --~--,-•,:·,·,:-~:.• .~,' .,~ ~,-_,. ,. , .t '{ "i.f ,-.,.' .I ........ ,,; ·~ , e;r- 1 ....... .,,..,, ..... ,_ .... ,.~ ............. .,..,,.. ... -·-··· -··· .. ~ ... :.,... This thesi·s is accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. ·-·. ,;) in d of the Department ., -·--- --- --- ..A.~---~---·-- -'----- ••• ··- -~.~.-· ·-·-.:---.- !4' .. - - .- •• ,_ ... .-- • .. '• ···,,-·•·•···. "' ..... " . -..--.,,......--.-,...,:.-_ _, ..... - . "., .. ... __ ····-·' ···~----··'-·""'"''. ... ··-. • iii ... -.---, .. , . ,.,._ - ,,-•', •• .'· • .,.•·•-··-, • '•"'~ .;-•.,,.,.,,,._, ~~--~•• ,.,. ' •• r-,.,.• ¥ -•-•••·••·•·••""'" ••c'•.. """ ,,,.:,.,-• ..-•·,,, . •! ·• ., ... -1" ...... ~.- ,.,...fT .... "-'""'"L'f~O~> .,.,., ·''t , f-o -· t ., ~ • .,-,"":;. ...... '·-··· • . .,.. ··- • • -·- • •• • • ·-· ! _,,. .••. • , .. , ·.·.,,-.,• ..,--., - •'•-• ._ .,.,. ._ ... ~ ••·-•.-...--- ,..,,___,,_, •, ,,.,, "''" •• ~ ..-, ,. ''', --• • .-- -• ... " ___ .,_.....,._~ .........,.,.,.._ ••• ,, ........ .... , . ··-. ···~····· h,.•,r,...,,, ..-,,,.··- ·~-·---• '·" .··· .,, .. .,...._. ,,-.,~~~,;;,"!,: \_car-;~J'-c'•· .... UC111~1t'"'f ,. ,,,._ ~-~~· '·. ··. ......... 4,~4:.,,..i,,q,..,.,... ............. ,...;L.,.:.. ........ , .... --......_._,> ..... ,.,,.,.· TABLE Page I) PREFACE,: ••••••••••••••••••••••••••••• ·•••••••••••• 1. II) KEATS'S REPUTATION AND JOHN SCOTT •• • • • • • • • • • • • • • • 3. III) KEATS'S REPUTATION AND JOHN TAYLOR •• ••••••••••••• 32. IV) IN SUMMARY••••••••••••••••••••••••••••••••••••••• 61. V) FOOTNOTES • ••••••••••••••••••••••••••••••••••••••• 66. .~ l VI) BIBLIOGRAPHY ••••••••••••••••••••••••••••••••••••• 78. VII) VITA••••••••••••••••••••••••••••••••••••••••••••• 81. : -. _.;.._ .. .:.. ~ - -· · __ ·1' ••... -·- . -- .. ·-· .-....... ·----..... .- --· -- -- '"•-;" - . -- - . - ... · ... __ . - _ ,..... - ····•·:•:• . .: ;:,.-;... , .. ........ ,:.··...: . - . ·- :-, .......... ... t iv . .,- ............ ·-·--------·t-- .,_.. _ -· --· - !"~'i" - .• --· -- - ... ----. ·..---~···-........ ---....___. ..,__._ ··~ . -,.. - · .. -.,.~_-:~-·J~t::~{.~.,. ~~, .... 1..1•••' • t •· ~··-•~............... ·-"'*"-···· . .. ••, .. Jo.•·"''-' ., _,, . .,-,., _ ' .. , .............. .... - ..... :·~~ ·.. '.'.'·:···~ ...• ,... .. _...,.,.. .... -....... ~,. "-.... ...___ ABSTRACT ....__ , .. :,.,= ,'> I f '\ .. John· Scott, editor of the brilliant London Magazine,' had stated in its Prospectus that~ a great deal of excellent poetry was being written of which the public was little aware. Scott discerned in Keats a poet of genius, .and during the fourteen months, January 1820 to Ferbruary 1821, he conducted the maga- zine, Keats's last two volumes, Endymion and Lamia, were given lengthy and valuable consideration in its pages. Scott found much to disparage in K~ats's habits and verse, but, being a fair man, he advised him to l eschew "slovenly fop­ I i l l peries" and to develop more fully his "pride and strength" for J ~ ' "moral and social beauty." In the London he took to task the !-I ! ~ l } viciousness and inappropriateness of Tory criticism and time ' 't ....u and again pleaded for a fair hearing of Keats's poems. His distinctions are that he saw beyond Keats's youthful faults great poetical power, and he was obliged therefore to do everything he could to bring it to the public's attention. John Taylor, as Keats's publisher and close friend, generously and often advanced him needed money, encourage­ ment, his editorial services, and advice. He too wished Keats to receive his full measure of recognition. But besides the textual problems which naturally arose in the editor-poet - - --- ··. "--·-·-~-.-·· ... ~-- .. ·:,· --- ...... ~.-·•--..- .. -.-.·----··~ ·- - . -· ' ...,.,, .. I '"(;\·,;·,l"I .. V. ·~· .-J. .•• ,.,., .. .,MI:.~~-~ .....,,, ..... ::.."'"'l--·•····· ~-, .. , -~ ,~-c.-.... _-,J·· ,,,. , ... , , .• , ",.,, .... \' ·-·-· •. ............. .. •- . -~ " .. , '. ·-. ····· •• · I '11,. ·•.i.• 1-, ....~,"" *" •"I•,'•• ...... ,., ............... relatd:.onship, and besides the irritating and passionate idio­ syncrasies which annoyed the ~consecutivi' scholar, Taylor • detected a moral unQrthodoxy in Keats's work which, if un­ corrected, would continue to alienate the-sensibilities of J discriminating readers. This and Keats's proud disdain for the public's good opinion, thought Taylor, were the reasons for his poor reception. Shortly after Keats's death John Taylor bought The London Magazine but under his editorship it was never again to give Keats's work any substantial evaluation. He soon lost all interest in. his projected biography of the_ poet, and, indeed, ____ _ he seems to have lost all concern for the Keats's reputation. 'i 'i 'i J j '~ l f- .' :. ----··· •.· ·-···------· ... --- .. ------~-----~- --------j ~ . - ~-----···--. ·- .... -··-·-· ---··-. .- -· ..... .. -- ··. -: . ·- .. · .... --- - - _ ...... ·-· .. ·, .. --·--- . - ·. ··.: .. -.'·.~ I . ,. ..... ~ ........... _... -···· ... - l y .. l j . ,:. .... ... -- _... _-- ~ ___ ,... _._..._,,_ --·-·-·--· .... -~ -, ·. -... ··. ·,_:.,-· ·-.··~ ;.---::. ···•' -r.-.;o1-,~-------···-·.. .,,..,,-....--~-,..-._-,.'•-.,, ,-~ >r,..- ,-•-, ... • .,..,- ;;. ..,._ =-i, •••.-._.,._,..,.=-...-.-t ... '-'. · . .._, ""'·',"''- ,__ ,.e,,-,, ,,,._.,., .• ,--•,_,. - ....... t...,,- ,,.:•.'--'-"l,.._.•~-? ,._,.,_,._ "'··-- --"" ,._._ ~•,•-'•7...:,~,._.... ...... -. ,.-,, .,. ...... _,d-..-.., .... _, ............ _.....,,..,.. -·- ,.,._. ,... .. , ...... _ .. , ,.>-- ~-···· ·-·•·. -~ --· ----...-•-- ---··-• - 'r"..,,' • •r--••.g:,.:: .. - - - - .. -·--- --- - ........ ---· ---- -·-· ··--- "' ,. i)., !:! .---··· . ________ ,...,,,,.,..,.. ......... ____ ... ___ ...... ..- ......... _._....,...-i ........... .:-- ........»·~-,,,_ •. "' ............ -_.... ,........... ~ _ ·----....... ~ ... -- ... -,-................ ___ • ,•• ·.\·~~·,_::::,r ........ ".... -~._ .... t.,.,,., •. ~.",...,.., .................."'C~----~ .... ,...,..,.. ---·;; ',j:j ,;, ~;'1~ Jl -::; ·h i:i ·n···,.···c··l tt ."': ' ~~·1?', ....... ., ....' ,_,', .. '' '. ·E ,, .. ' . r!; l\ ...(j ij 1~: ~ -... ·- ] ... ~/~ i :~.l This paper intends to study the ,~;'~ effects two men of the ~ 4 13 f early nineteenth century had upon John Keats, the man, his '! work, and his reputation. Both men were important not only for their relationships to Keats but also in their own right. The first character has found no biographer, and yet it is his great distinction that he was Keats's earliest, most capable, and most consistent advocate. Amy Lowell in 1925 gives him only slight mention: his magnificent magazine, the London, gets one entry in her index. Dorothy Hewlett's study of Keats 35 years later gives him, his three reviews of Keats's poetry, and his many substantial comments on the same, a bit more notice. While he never knew Keats personally, John Scott, as a result of a duel which ended his battle with the hostile Blackwood's, was to die only four days after the poet C, in whose work he discerned greatness. The second character, John Taylor, has had a biographer, several articles, and great space in every major work on Keats. /\ His enduring friendship with Keats, his good efforts, vocal and financial, in support of the poet will ever be to his credito Be succeeded Scott as editor of the London, and in its pages he introduced such names as Da Quincey and T. Carlyle to the public: he found and nurtured John Clare. A scholar and - .. -· .. -.,•·:· - -~ ;"";" ----- rr•. - -~, ------~-----~•---- - ~- ..... ---- ---·- -- ----- _.. ' ---- -··· - -- - -- ----------,.----·- ------------- - -------- ., ' ....... .-,, .. .... ··- ~-· ~· .. -· .. ,......... -- . .... - ......... .,2 .... _,_. ____ ......................... ~------- ... --- .... .._ .. - - --·--·-·-~ "'.°'"• •_.•• --~ ... ,,.J,,-.,-1•-,.....,.,... -••-N·--~ ,-••••r•·••••'"''j_, .. •• ,, ..... - ......... ~ • , •• ...,,_, __ ....... ,, •• -. -· ___ .... , ...-.----- .... - __ ••' _,, ~~ .. -~- _,.._.,
Recommended publications
  • Fearless Therefore Powerful» Sociability and Emotions in Mary Shelley’S Frankenstein
    «FEARLESS THEREFORE POWERFUL» SOCIABILITY AND EMOTIONS IN MARY SHELLEY’S FRANKENSTEIN Cristina Paoletti Università di Bologna, Dipartimento di Filosofia, [email protected] Abstract. «Fearless therefore Powerful». Sociability and Emotions in Mary Shelley’s Frankenstein This paper analyses the role played by fear as the motive of both Victor Frankenstein and his monster’s behaviour. Moving from the natural horror the monster excites, fear is mostly considered by Mary Shelley as a normal reaction, and its absence marks pathological circumstances, such as cruelty or unsympathetic and antisocial feelings. Referring to the philosophical debate on moral sympathy and to the scientific discussion on Erasmus Darwin’s account of animal instincts, Shelley also provided remarkable criticis Keywords: Enlightenment, Emotions, English Literature, Seventeenth Century. So should young SYMPATHY, in female form, Climb the tall rock, spectatress of the storm; Life's sinking wrecks with secret sighs deplore, And bleed for others' woes, Herself on shore; To friendless Virtue, gasping on the strand, Governare la paura – 2008, giugno Cristina Paoletti Bare her warm heart, her virgin arms expand1. An essay on Mary Shelley’s Frankenstein might perhaps appear an obvious choice when dealing with fear and its literary and artistic representations. Victor Frankenstein’s odd and shocking story was firstly received with dismay and disappointment and an early reviewer explained the terror produced by the novel with the folly of the author. The [author’s] dreams of insanity are embodied in the strong and striking language of the insane, and the author, notwithstanding the rationality of his preface, often leaves us in doubt whether he is not as mad as his hero.
    [Show full text]
  • EXCEL LATZKO MUZIK CATALOG for PDF.Xlsx
    Walter Latzko Arrangements (Computer/Non-Computer) A B C D E F 1 Song Title Barbershop Performer(s) Link or E-mail Address Composer Lyricist(s) Ensemble Type 2 20TH CENTURY RAG, THE https://www.sheetmusicplus.com/title/the-20th-century-rag-digital-sheet-music/21705300 Male 3 "A"-YOU'RE ADORABLE www.sheetmusicplus.com/title/a-you-re-adorable-digital-sheet-music/21690032Sid Lippman Buddy Kaye & Fred Wise Male or Female 4 A SPECIAL NIGHT The Ritz;Thoroughbred Chorus [email protected] Don Besig Don Besig Male or Female 5 ABA DABA HONEYMOON Chordettes www.sheetmusicplus.com/title/aba-daba-honeymoon-digital-sheet-music/21693052Arthur Fields & Walter Donovan Arthur Fields & Walter Donovan Female 6 ABIDE WITH ME Buffalo Bills; Chordettes www.sheetmusicplus.com/title/abide-with-me-digital-sheet-music/21674728Henry Francis Lyte Henry Francis Lyte Male or Female 7 ABOUT A QUARTER TO NINE Marquis https://www.sheetmusicplus.com/title/about-a-quarter-to-nine-digital-sheet-music/21812729?narrow_by=About+a+Quarter+to+NineHarry Warren Al Dubin Male 8 ACADEMY AWARDS MEDLEY (50 songs) Montclair Chorus [email protected] Various Various Male 9 AC-CENT-TCHU-ATE THE POSITIVE (5-parts) https://www.sheetmusicplus.com/title/ac-cent-tchu-ate-the-positive-digital-sheet-music/21712278Harold Arlen Johnny Mercer Male 10 ACE IN THE HOLE, THE [email protected] Cole Porter Cole Porter Male 11 ADESTES FIDELES [email protected] John Francis Wade unknown Male 12 AFTER ALL [email protected] Ervin Drake & Jimmy Shirl Ervin Drake & Jimmy Shirl Male 13 AFTER THE BALL/BOWERY MEDLEY Song Title [email protected] Charles K.
    [Show full text]
  • Select Letters of Percy Bysshe Shelley
    ENGLISH CLÀSSICS The vignette, representing Shelleÿs house at Great Mar­ lou) before the late alterations, is /ro m a water- colour drawing by Dina Williams, daughter of Shelleÿs friend Edward Williams, given to the E ditor by / . Bertrand Payne, Esq., and probably made about 1840. SELECT LETTERS OF PERCY BYSSHE SHELLEY EDITED WITH AN INTRODUCTION BY RICHARD GARNETT NEW YORK D.APPLETON AND COMPANY X, 3, AND 5 BOND STREET MDCCCLXXXIII INTRODUCTION T he publication of a book in the series of which this little volume forms part, implies a claim on its behalf to a perfe&ion of form, as well as an attradiveness of subjeâ:, entitling it to the rank of a recognised English classic. This pretensión can rarely be advanced in favour of familiar letters, written in haste for the information or entertain­ ment of private friends. Such letters are frequently among the most delightful of literary compositions, but the stamp of absolute literary perfe&ion is rarely impressed upon them. The exceptions to this rule, in English literature at least, occur principally in the epistolary litera­ ture of the eighteenth century. Pope and Gray, artificial in their poetry, were not less artificial in genius to Cowper and Gray ; but would their un- their correspondence ; but while in the former premeditated utterances, from a literary point of department of composition they strove to display view, compare with the artifice of their prede­ their art, in the latter their no less successful cessors? The answer is not doubtful. Byron, endeavour was to conceal it. Together with Scott, and Kcats are excellent letter-writers, but Cowper and Walpole, they achieved the feat of their letters are far from possessing the classical imparting a literary value to ordinary topics by impress which they communicated to their poetry.
    [Show full text]
  • On the Rise and Progress of Popular Disaffection,” in Es- Says, Moral and Political, 2 Vols
    Notes Introduction 1. Robert Southey, “On the Rise and Progress of Popular Disaffection,” in Es- says, Moral and Political, 2 vols. (1817; London: John Murray, 1832), II, 82. The identity of Junius remained a mystery, and even Edmund Burke was suspected. For an argument that he was Sir Philip Francis, see Alvar Ellegård, Who Was Junius? (The Hague, 1962). 2. Byron, “The Vision of Judgment” in Lord Byron: The Complete Poetical Works, ed. Jerome J. McGann and Barry Weller, 7 vols. (Oxford: Clarendon Press, 1980–92), VI, 309–45. 3. M. H. Abrams, Natural Supernaturalism: Tradition and Revolution in Ro- mantic Literature (New York: W. W. Norton, 1971), p. 13. 4. See Anne K. Mellor, English Romantic Irony (Cambridge: Harvard Univer- sity Press, 1980). 5. Jerome J. McGann, The Romantic Ideology: A Critical Investigation (Chicago and London: University of Chicago Press, 1983), pp. 23–24. 6. Jerome J. McGann, Towards a Literature of Knowledge (Oxford: Clarendon Press, 1989), p. 39. 7. McGann, Towards a Literature of Knowledge, p. 39. 8. McGann, “Literary Pragmatics and the Editorial Horizon,” in Devils and Angels: Textual Editing and Literary Theory, ed. Philip Cohen (Charlottesville and London: University Press of Virginia, 1991), pp. 1–21 (13). 9. Marilyn Butler, “Satire and the Images of Self in the Romantic Period: The Long Tradition of Hazlitt’s Liber Amoris,” in English Satire and the Satiric Tradition, ed. Claude Rawson (Oxford: Basil Blackwell, 1984), 209–25 (209). 10. Stuart Curran, Poetic Form and British Romanticism (New York and Oxford: Oxford University Press, 1986), pp. 12–13. 11. Gary Dyer, British Satire and the Politics of Style, 1789–1832 (Cambridge: Cambridge University Press, 1997).
    [Show full text]
  • Romantic Triangles
    Romantic Triangles: Author-Publisher-Reader Relations in Early Nineteenth Century British Literary Magazines: with particular reference to the Familiar Essays of Charles Lamb, William Hazlitt, and Thomas De Quincey by Christopher J. Skelton-Foord B.A.(Cantab.), M.Litt. (Aberdeen) A Master's Dissertation, submitted in partial fulfilment of the requirements for the award of the Master of Arts Degree of the Loughborough University of Technology September 1992 Supervisor: Diana Dixon B.A., M.Phil.(Leicester), Dip.Lib.(London), A.L.A. Departme·nt of Information and Library Studies '. @ C. J. Skelton-Foord, 1992 - iii - ACKNOWLEDGEMENTS I am glad to acknowledge my debt to my research supervisor, Diana Dixon, for advice and friendly guidance which have helped to ensure that writing my dissertation remained challenging and enjoyable. I am grateful to the staff of the British Library Document Supply Centre; Manchester Central Library; and the University Li braries of Aberdeen, Cambridge, Leicester, Loughborough, Manchester, Nottingham, and Staffordshire (especially its Assistant Humanities Librarian, Cathryn Donley) for their courtesy in making available to me their collections. Special thanks go to Mrs Hilary Dyer and Professor John Feather for their kind assistance at Loughborough, to Brandon High and John Urquhart for their encouragement and example, and to the School of English Studies, Journalism and Philosophy at the University of Wales College of Cardiff, whose award of a Corvey Senior Studentship in Bibliography from October 1992 provided me with the reassuring focus of knowing that my research into the production and reception of literature in the Romantic a~e could progress a stage further.
    [Show full text]
  • John Keats 1 John Keats
    John Keats 1 John Keats John Keats Portrait of John Keats by William Hilton. National Portrait Gallery, London Born 31 October 1795 Moorgate, London, England Died 23 February 1821 (aged 25) Rome, Italy Occupation Poet Alma mater King's College London Literary movement Romanticism John Keats (/ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.[1] Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analysed in English literature. Biography Early life John Keats was born in Moorgate, London, on 31 October 1795, to Thomas and Frances Jennings Keats. There is no clear evidence of his exact birthplace.[3] Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st.[4] He was the eldest of four surviving children; his younger siblings were George (1797–1841), Thomas (1799–1818), and Frances Mary "Fanny" (1803–1889) who eventually married Spanish author Valentín Llanos Gutiérrez.[5] Another son was lost in infancy.
    [Show full text]
  • Robert Southey, Politics, and the Year 1817 Ian Packer
    Document generated on 09/30/2021 4:56 a.m. Romanticism on the Net An open access journal devoted to British Romantic literature Robert Southey, Politics, and the Year 1817 Ian Packer Robert Southey Article abstract Number 68-69, Spring–Fall 2017 This article examines Robert Southey’s interactions with both politics and politicians in the year 1817. The publication of the sections of the Collected URI: https://id.erudit.org/iderudit/1070619ar Letters of Robert Southey covering the period 1815-21 makes possible a much DOI: https://doi.org/10.7202/1070619ar closer and more nuanced examination of how Southey responded to the controversy over the unauthorised appearance of his early radical play, Wat See table of contents Tyler, and his subsequent condemnation in the House of Commons as a “renegado.” The Collected Letters make clear that Southey’s reaction to these events became entangled with his determination to gather support for his distinctive political programme, which he believed would save the country Publisher(s) from revolution. However, Southey’s interventions in the fraught political and Université de Montréal cultural debates of 1817 only served to cement his reputation as a particularly reactionary conservative. ISSN 2563-2582 (digital) Explore this journal Cite this article Packer, I. (2017). Robert Southey, Politics, and the Year 1817. Romanticism on the Net, (68-69). https://doi.org/10.7202/1070619ar Copyright © Ian Packer, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit.
    [Show full text]
  • Introduction: 'The Radical Ladder'
    Notes Introduction: ‘The Radical Ladder’ 1. The Loyalist; or, Anti- Radical; Consisting of Three Departments: Satyrical, Miscellaneous, and Historical (W. Wright, 1820), iv. 2. Here, it might also mean (if the artist is being subversive), ‘I Have Suffered’, which Caroline and the radicals certainly had; or, it might stand for ‘In hoc signo vinces’ – ‘with this as your standard you shall have vic- tory’, hinting at the odd relationship between this Queen and republican radicals. 3. See Thompson, The Making, 691–6. 4. See Robert Reid, The Peterloo Massacre (Heinemann, 1989), 117–19. 5. Frederick Jameson, The Political Unconscious: Narrative as Symbolically Social Act (London: Routledge, 2002), ix. 6. Jameson, The Political Unconscious, 1. 7. Clifford Siskin, The Work of Writing: Literature and Social Change in Britain, 1700–1830, (Baltimore: Johns Hopkins University Press, 1999), 2. 8. Frank Kermode, The Romantic Image (London: Fontana Press, 1971), 18–19. 9. Anne Janowitz, ‘“A voice from across the Sea”,: Communitarianism at the Limits of Romanticism’, At the Limits of Romanticism: Essays in Cultural, Feminist and Materialist Criticism, ed. Mary A. Favret and Nicola J. Watson (Bloomington, IN: Indiana University Press, 1994), 85. 10. Nigel Leask and Phillip Connell (eds.), Romanticism and Popular Culture in Britain and Ireland, (Cambridge: Cambridge University Press, 2009), 7. 11. Gary Dyer, British Satire and the Politics of Style, 1789–1832 (Cambridge: Cambridge University Press, 1997), 141. 12. Donald Read, Peterloo: the ‘Massacre’ and its Background (Manchester: Manchester University Press, 1958), 16. Interestingly, in a letter to The Times newspaper on 26 September 2008 Read wrote: ‘The crowd was certainly gathered to demand democratic reform, but it was in a fes- tive mood.
    [Show full text]
  • Christians, Critics, and Romantics: Aesthetic Discourse Among Anglo- American Evangelicals, 1830-1900
    Christians, Critics, and Romantics: Aesthetic Discourse among Anglo- American Evangelicals, 1830-1900 Author: Chad Philip Stutz Persistent link: http://hdl.handle.net/2345/745 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2009 Copyright is held by the author, with all rights reserved, unless otherwise noted. Boston College The Graduate School of Arts and Sciences Department of English CHRISTIANS, CRITICS, AND ROMANTICS: AESTHETIC DISCOURSE AMONG ANGLO-AMERICAN EVANGELICALS, 1830-1900 a dissertation by CHAD P. STUTZ submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2009 © copyright by CHAD P. STUTZ 2009 Christians, Critics, and Romantics: Aesthetic Discourse among Anglo-American Evangelicals, 1830-1900 Chad P. Stutz Professor Judith Wilt, advisor ABSTRACT Though contemporary evangelical Protestants have shown an increased interest in the fine arts, scholars have often seen the aesthetic history of Anglo-American evangelicalism as one marked by hostility and indifference. In contrast to this view, this study argues that the history of evangelicalism’s intellectual engagement with the fine arts has been complex and varied. Throughout much of the nineteenth century, evangelicals writing in a variety of denominational periodicals carried on a robust inquiry into aesthetics. This study traces the rise of this discourse among Anglo-American evangelicals and maps some of the main features of the evangelical theoretical landscape between 1830 and 1900 – a high point of evangelical critical activity. Christians, Critics, and Romantics describes how evangelicalism’s contact with Enlightenment thought initiated a break with the Puritan aesthetic tradition that contributed to the growth of a modern aesthetic consciousness among some eighteenth-century evangelicals.
    [Show full text]
  • The Hazlitt Review
    THE HAZLITT REVIEW The Hazlitt Review is an annual peer-reviewed journal, the first internationally to be devoted to Hazlitt studies. The Review aims to promote and maintain Hazlitt’s standing, both in the academy and to a wider readership, by providing a forum for new writing on Hazlitt, by established scholars as well as more recent entrants in the field. Editor Uttara Natarajan Assistant Editors James Whitehead, Phillip Hunnekuhl Editorial Board Geoffrey Bindman James Mulvihill David Bromwich Tom Paulin Jon Cook Seamus Perry Gregory Dart Michael Simpson A.C. Grayling Fiona Stafford Paul Hamilton Graeme Stones Ian Mayes John Whale Tim Milnes Duncan Wu We invite essays of 4,000 to 9,000 words in length on any aspect of William Hazlitt’s work and life; articles relating Hazlitt to wider Romantic circles, topics, or discourses are also expressly welcome, as are reviews of books pertaining to such matters. Contributions should follow the MHRA style and should be sent by email to James Whitehead ([email protected]) or Philipp Hunnekuhl ([email protected]). Submissions will be considered year- round, but must be received by 1 March to be considered for publication in the same year’s Review. We regret that we cannot publish material already published or submitted elsewhere. Contributors who require their articles to be open access (under the RCUK policy effective from the 1 April 2013) should indicate this, and they will be made freely available on this website on publication. Subscriptions, including annual membership of the Hazlitt Society, are £10 (individual) or £15 (corporate or institution) per annum.
    [Show full text]
  • Billboard, Vol. XVII, No. 6, February 11, 1905
    PRICE, 10 CENTS. FORTY PAGES. THEATRES^ CIROJSE MUSICIANS Weekly Volume XVII. No.fi. CINCINNATI NEW YORK CHICAGO February 11,1905. B. F. KEITH, The Well-Known Vaudeville Manager. Ttie Billboard been one of the greatest hits In the hlstor common sight Lu shooting galleries, and the of the London stage, and It Is still running. mechanical difficulties of making them support the weight of the girls was easily overcome by DRAMATIC The Barnum & Bailey twenty-four Hugh S. Thompson, who is securing a patent MINSTREL hour men have commenced work spending on the Idea. VAUDEVILLE BURLESQUE pleasant winter recuperating from the strena MUSIC cms campagn of 1904. Pete Conklln, as usual George Kdwardes' original London OPERA puts In his period of rest under his father' Company has made a very marked success In rooftree down In the wilds of Coney Islam: Henry Hamilton and Ivan Caryll's romantic while Harry Barnum spent tbe winter xm hi opera The Duchess of Dantzlc at Daly's Thea Island, to be built on the site of TUyou'i farm at Pottsvllle, Pa. tre. Ths piece, which is founded on the Steeplechase Park, announce that they have historic story of Mme. San Gene and Napoleon, m BROADWAY-GOSSIP. & a number of high-class spectacular acts which It Is rumored that W. W. Power has might perhaps be properly called a musk they are booking on the vaudeville circuits. purchased the troupe of trained ele- drama, dramatic interest dominating It mud. phants which were the feature of tbe Walte more strongly than any musical production ever During the recent storm Chas.
    [Show full text]
  • "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
    Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
    [Show full text]